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Cuentos completos (Penguin Clásicos) by Mark Twain

By Mark Twain

Los mejores libros jamás escritos.

«En un texto se puede encontrar cualquier cosa si uno se coloca entre él y el espejo de su propia imaginación.»

Mark Twain afiló su narrativa y cimentó su éxito en el género del cuento. Sus relatos se caracterizan por unas tramas ingeniosas, una inventiva inagotable, unos personajes inolvidables, un genial sentido del humor y por su excepcional uso del lenguaje, que revela un vívido retrato de l. a. sociedad de su tiempo. Genio y figura, el propio Twain defendía así sus relatos: «Me gusta una buena historia bien contada. Por esa misma razón, a veces me veo obligado a contarlas yo mismo.»

Esta edición es los angeles más completa de los angeles narrativa breve de Twain. los angeles componen todas sus piezas cortas, sesenta textos magníficamente traducidos. Asimismo presenta una excelente y esclarecedora introducción de Charles Neider, reconocido como uno de los mejores especialistas en l. a. vida y los angeles obra de este coloso de las letras.

Ernest Hemingway dijo sobre Mark Twain...
«La literatura estadounidense nace con Twain. No había nada antes. No ha habido nada igual de bueno desde entonces.»

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Tracing Donatello's "wild blood" (1045), Ae narrator gives in excessive detail a lineage that combines an Italian "genealogy" with what are stressed as "altogether mythical" origins. The result is that genealogy itself becomes a matter of myth — though this is not to say that all that is inherited is merely mythic. The elaborate pedigree makes race a matter of every and any kind of human category: the "scattered qualities of his race" (1046) include an inherited "family character," a family history, a class identity, a nationality, a "pre-historic" tribal identity ("the Pelasgic race," men of "Asiatic birth"), and a "wild paternity" of acknowledged myth.

The crime and the remorse it instills create in Donatello a "thousand high capabilities" that make him tragically but fully human. Yet although the express intent of the novel is to retell "the story of the Fall of Man," it is impossible to overlook the fact that the character who is the novel's moral center, Hilda, actually decries the doctrine ofafelix culpa. " (1236). In this light, the revision of Hawthorne's original title The Transformation seems especially significant, a gesture of ambiguity about the very conversion the plot is designed to dramatize.

An ethnographic diction allowed novelists to domesticate precisely those social facts that would have been ignored discretely in private homes and institutions of high culture: an increasing immigration and racial diversity, along with the theories of race and citizenship that accompanied them (Chapter 2); new urban conditions that altered the indoor world of bourgeois social life and its presumed civility (Chapter 3); the strange, unnerving desires that seemed unleashed by commodity consumption (Chapter 4); and the specter of new and uncertain powers of agency for women (Chapter 5).

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